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© The Dramatic Publishing Company, Woodstock, Illinois

*** NOTICE ***The amateur and stock acting rights to this work are controlled exclusivelyby THE DRAMATIC PUBLISHING COMPANY without whose permissionin writing no performance of it may be given. Royalty fees are given in ourcurrent catalog and are subject to change without notice. Royalty must bepaid every time a play is performed whether or not it is presented for profitand whether or not admission is charged. A play is performed any time it isacted before an audience. All inquiries concerning amateur and stock rightsshould be addressed to:

DRAMATIC PUBLISHINGP. O. Box 129, Woodstock, Illinois 60098

COPYRIGHT LAW GIVES THE AUTHOR OR THE AUTHOR'S AGENTmE EXCLUSIVE RIGHT TO MAKE COPlES. This law pro\ides authors with afair return for their Cre<ltive efforts. Authors earn their living from the royalties theyreceive from book sales and from the performance of their work Conscientiousobservance of copyright law is not only ethical, it encourages authors to continuetheir ere<ttive work This work is fully protected by copyright No alterations, deletions or substirutions may be made in the work without the prior written consent ofthe publisher. No part of this work may be reproduced or transmitted in any formor by any means, electronic or mechanical, including photocopy, recording, videotape, fUm, or any information storage and retrieval system, without permission inwriting from the publisher. It may not be performed either by professionals oramateurs "ithout payment of royalty. All rights, including but not limited to theprofessional, motion picrure, radio, television, videotape, foreign language, tabloid,recitation, lecturing, publication, and re<lding are reserved.

©MCMXCIX byRICK CUMMINS and JOHN SCOULLAR

Adapted from the book byANTOINE DE SAINT-EXUPERY

Printed in the United States of AmericaAll Rights Reserved

(THE LITILE PRINCE, the musical, large-cast version)


IMPORTANT BILLING AND CREDIT REQUIREMENTS

All producers of the Play must give credit to the Author(s)of the Play in all programs distributed in connection withperfonnances of the Play and in all instances in which thetitle of the Play appears for purposes of advertising, publicizing or otherwise exploiting the Play and/or a production.The name of the Author(s) must also appear on a separateline, on which no other name appears, immediately following the title, and must appear in size of type not lessthan fifty percent the size of the title type. Specific creditmust be given as follows:

(50%) Cummins and Scoullar's(100%) THE LITTLE PRINCE

(50%) Music by Rick Cummins - BooIqLyrics by John Scoul1ar

(25%) Based on the book by Antoine de Saint-Exupery(10%) Copyright © 1943 and renewed 1971 by

Harcourt Brace & Co.

The musical version was originally produced off-Broadway by Chrysalis Productions at the John Houseman TheatreComplex. Earlier version produced and directed by Michael Harron at Playhouse by the River, Mt. Bethel, Pa.

On all programs this notice should appear:

"Produced by special arrangement withTIm DRAMATIC PUBUSHING COMPANY of Woodstock. illinois"

* * * *

Note: Printed material, including playbooks and music,whether used for perusal or for the production of the playor musical version of THE LITTLE PRINCE, is providedstrictly on a rental basis. All material must be returned toDramatic Publishing upon completion of its use.


AUTHORS' NOTE

This large-cast version of The Little Prince utilizes aspecial stage ensemble of 6-8 actors. We envision these actors dressed inconspicuously (e.g., in black unitards andhead coverings), moving in subtle stylized fashion, and using various simple props. The ensemble should become"human scenery," inspiring the audience to see the illusionsthey create without drawing attention to themselves as individuals. As indicated in the script, they can help create theillusion of flight, glorious sunsets, starry skies, and windswept sand dunes. They can facilitate the appearance ofvolcanoes, baobabs, trees, and wheat fields. The script indications are our staging suggestions. Use them as they are orelaborate on them if you wish. When used tastefully andsparingly, they can be effective and fun. Remember, less ismore. Have fun and "break a leg!"


THE LITTLE PRINCE

A Musical in Two ActsFor up to 32 actors

CHARACTERS

AviatorLittle PrinceRoseKingConceited ManBusinessmanLamplighterGeographerSnakeDesert FlowerFoxSketch ArtistSpecial Stage Ensemble (6-8)Optional extra roses for the Wall of Roses (12)

Note: Whereas the music calls for 3 pit voices and 3 instrumentalists, it is possible to add up to 3 additional pit voicesand additional instrumentalists if the musical director hasthe ability to organize this.


ACT ONE

PROLOGUE

[Music Cue #1: Prologue!l Fly]

AT RISE: Music is heard. Lights up on A VIA TOR who hasa drawing pad and pencil. He addresses the audience asthough imparting a great confidence.

AVIATOR. When I was six years old, once upon a verylong time ago, I made this drawing.

(As A VIA TOR draws, the projectionscreen fades lip and the hand of theoffstage sketch artist is seen makingIllustration B. See music to coordinatetiming. A VIA TOR and artist's movements should be synchronized.)

I showed my masterpiece to the grown-ups and asked,"Does it frighten you?" But they said, "Why should anyone be frightened by a hat?" It was not a hat. So I drewit for them more clearly. (A VIA TOR jlips page of pad as

sketch artist changes gel.) Grown-ups always need tohave things explained to them.

(Illustration C is drawn by AVIA TOR;ARTIST See music to coordinate tillling.)

7


8 THE LITTLE PRINCE - the musical Act I

It was a boa constrictor having swallowed an elephant.But this time they said, "Put those crayons away andstudy arithmetic or geography or something important."So I did ... But I always kept my first drawing with meas a test of true understanding.

(Illustration C is taken away. Illustration B reappears, as AVIATOR flipsback to first page ofpad.)

AVIATOR. But 110 matter who I showed it to, they wouldalways say, "That is a hat." So I threw it away, (AVIATOR tears drawing out of pad.) and I never again spoketo them about boa constrictors, or primeval forests, orstars. And I never again made another drawing. (A VIATOR crumples drawing in fist. Illustration B off.) Ilearned to pilot airplanes. And I lived my life alone untilI was nearly forty years old. And this is the tale of how Ilearned to draw again.

(By now the A VIATOR has donned a scarf and aviator'shat. If no set piece is used for plane, see Illustration D.He gets in plane, revs engine, and takes off. Lightschange. The ENSEMBLE appears and creates a starrysky, perhaps by holding multi-branched sticks dottedwith small lights or "stars" of different sizes. Coordinated movement of the stars may help create the illusionofflight. They remain on stage throughout the song andthe storm that follows.)

WHO NEEDS THE CROWDSAND THE NOISE DOWN BELOW?HIGH IN THE CLOUDS


Act I THE LITTLE PRINCE - the musical

THAT'S WHERE I'D RATHER GOHERE IN THE AIRWITH THE STARS SPEEDING BYI FLY

THEIRS IS A WORLDWHERE THE IDIOTS REIGNWHO NEEDS THE GRIEF?TELL ME, WHO NEEDS THE PAIN?GIVE ME THE CHOICEOF THE GROUND OR THE SKYI FLY

9

A LIFE ON THE EARTH COULD SMOTHERANY MAN WITH THE SENSE TO CARESO LET THEM ANNOY EACH OTHERI'M OFF TO THE SKY FOR SOME BREATHABLE AIR

SO AS I RIDEON THE WINDS OF THE NIGHTSTARS AT MY SIDEAND THE MOON FOR MY LIGHTHERE I CAN BIDALL THE FOOLS OF THE WORLDGOODBYE

(Thunder and lightning. An offstage voice is heard onhis radio.)

MAN (offstage). Solitaire, come in Solitaire. This is Tangiers,Solitaire. Come in.

AVIATOR. This is Solitaire.


10 1HE LITTLE PRINCE - the musical Act I

MAN (offstage). What do you think you're doing up therein that airplane?

AVIATOR. Why, delivering the mail, of course. That is myjob. That's why they call it air mail.

MAN (offstage). You know perfectly well what I mean.This is the third unauthorized flight you've taken thismonth and-in case you don't remember, three strikesand you're out.

AVIATOR. But-MAN (offstage). You are grounded---effective immediately.AVIATOR. GROUNDED!

MAN (offstage). You've always been a malcontent and amisfit, but now you're being reckless as well. You'reheaded directly into a storm.

AVIATOR. GROUNDED!

MAN (offstage). So turn that plane around and get backhere immediately.

AVIATOR. ENOUGH! (AVIATOR pulls radio mike violently, disconnecting it. The wire dangles. He sees it andthrows it down, speaking to plane.) What do they know?We'll be just fine. Right, my friend? (The plane soars.)

THE YEARS THAT I SPENT AROUND THEMEVERYONE THAT I'VE EVER METCONFIRMS HOW I'VE ALWAYS FOUND THEMTHE CLOSER THEY COME THE MORE DISTANT

I GET

SO AS I RIDEON THE WINDS OF THE NIGHTSTARS AT MY SIDEAND THE MOON FOR MY LIGHT


Act I THE Lrrn..E PRINCE - the musical

SAFE IN THE AIRJUST MY STEEL-STUDDED FRIEND A.,lIJD IALL ALONEI'M AT HOME AGAINI FLY

11

(He is interrupted by loud thunder and lightning. [MusicCue #2: The Storm] The A VIATOR is in a storm.)

AVIATOR. Hold on there, my friend. This is not a problem. Where are we? Somewhere over the Sahara, I imagine. (More turbulence.) Or some otherwhere. (Enginesputters.) What's the matter with you? (More sputtering.) Looks like I'm going to have to take you down.(Plane swoops. AVIATOR speaks into radio.) Come in,Tangiers. Tangiers, come in. This is Solitaire. (Storm escalates.) Solitaire going down for emergency landing!Making emergency landing approximately ... (A VIATORsees dangling radio cord and drops it. Engine stops.Plane begins to descend.) Woooo- (He force lands in aconfusion of lights. ENSEMBLE exits. Music continues.)

BLACKOUT

(Lights up slowly on A VIATOR asleep on the sand andthen revealing LITTLE PRINCE behind a scrim.)

Lrrn..E PRINCE. Please, sir, draw me a sheep.AVIATOR (sits up suddenly as if from a nightmare). What!

(He sees nothing. A VIATOR gets up slowly, walks around


12 TIIE LITTLE PRINCE - the musical Act I

getting his bearings. He is confused. LITTLE PRINCEappears again elsewhere behind scrim.)

LITTLE PRINCE. Draw me a sheep.AVIATOR (turns, spots him, and heads toward him). Hello!

Hello- Who ale you?- Where- (LITTLE PRINCE hasvanished A VIATOR is at a loss. He looks fearfully aroundhim.) Where are we? (Standing in place, he winces as hefeels sand in his boot. Removing it, he pours sand out.With understanding, and relieved, if cynical, resignation:)Something tells me this isn't the Riviera. (A VIA TOR goesto plane, remembering.) Ah yes, the storm---over the desert, the idiots- (He goes to use radio, discovers it isunattached. Smacks his head.) Idiot!

(LITTLE PRINCE has now entered, pad and pencil inhand standing atop a dune.)

LITTLE PRINCE. If you please, draw me a sheep.AVIATOR (taken back and totally confused). You-there

here-in the desert- But who- (LITTLE PRINCE approaches. A VIATOR sits in weakness.)

LITILE PRINCE. Draw me a sheep.AVIATOR (after a beat, blankly.) I don't draw.LITTLE PRINCE. You used to.AVIATOR. How would you kn-?LITTLE PRINCE (firmly). Draw me a sheep.AVIATOR (to audience). When a mystery is too overpow

ering one dares not disobey.


Act I THE LITTLE PRINCE - the musical 13

(Taking pad and pencil, the A VIATORcomplies reluctantly. As he draws, thehand in the projection sketches theA VIATOR's first drawing, IllustrationB. [Music Cue #3J The A VIATOR handshis drawing to the LITTLE PRINCE.)

eflLITILE PRINCE. No no no! I don't want an elephant in

side a boa constrictor. A boa constrictor is very dangerous and an elephant is very large. I need a sheep. Drawme a sheep.

(A VIATOR is shocked As he flips pageofpad up, artL~t removes Illustration B.A VIATOR reluctantly begins to drawagain. See Illustration E. [Music Cue#4])

(AVIATOR hands drawing to LITTLE PRINCE.)

LITILE PRINCE. You can see for yourself that's not asheep. It's a ram, see? It has horns.

(A VIATOR, annoyed, flips page, sameas before. Artist removes IllustrationE. A VIATOR tries again. See Illustration F. [Music Cue #5J)

(A VIATOR hands it to him.)

This one is too old. I want a sheep that will live a longtime.


14 THE LITILE PRINCE - the musical Act I

(Frustrated, A VIATOR grabs pad out ofLITTLE PRINCE's hand. He takes adeep breath, flips the page as before.Artist removes Illustration F. A VIA TORdraws ,....ith finality. See Illustration G.)[Music Cue #6J)

AVIATOR. This is a box. (Handing drawing to LITTLEPRINCE.) The sheep that you want is inside.

LITTLE PRINCE. That is exactly the way I wanted it! (LIT

TLE PRINCE exits. Illustration G jades out. Music ends.)AVIATOR (to audience). And that was how I made the

acquaintance of this strange little man.

([Music Cue #7J The AVIATOR goes to his plane.)

The next day ... just before sunset... as I worked on myplane a thousand miles from any human habitation ... heappeared again.

(LITTLE PRINCE enters and freezes until the end oj theAVIATOR's next line.)

AVIATOR. It took me a long time to learn where he camefrom. This little person, who asked so many questions,never seemed to hear the ones I asked.

LITTLE PRINCE. It is true, isn't it? Sheep eat littlebushes?

AVIATOR (turns, startled). Where did you go yesterday?LITTLE PRINCE. It is true, isn't it?AVIATOR (exasperated). Yes.LITILE PRINCE. Then it follows that they also eat bao

babs, correct?


Act I THE LITTLE PRINCE - the musical 15

AVIATOR. Baobabs are not little bushes. They're trees asbig as castles, and-

LITTLE PRINCE. But before they grow so big, the baobabs, they start out by being little?

AVIATOR. Strictly speaking, yes. Where is your family?Where do you come from? Why do you want the sheepto eat the little baobabs, anyway? (LITTLE PRINCEdoesn't answer. LITTLE PRINCE has wandered over toplane.) Don't you ever answer a question?

LITTLE PRINCE. What is this object?AVIATOR (turns, startled). That is not an object. That is

my airplane. My-friend. (With irony.)LITILE PRINCE (investigates the plane). Hello.AVIATOR. It doesn't talk. It's true, I talk to it occasion

ally-but it doesn't answer back.LITTLE PRINCE. That doesn't seem very satisfactory.

(LITTLE PRINCE is puzzled)AVIATOR. It's an airplane! It flies!LITILE PRINCE. You dropped down from the sky?AVIATOR. Yes. (LITTLE PRINCE laughs, highly amused

A VIATOR is miffed LITTLE PRINCE tries to suppresshis laughter.) What's so funny?! (LITTLE PRINCE burstsinto laughter again. A VIATOR speaks to audience.) Hislaughter irritated me. I liked my misfortunes taken seriously. (With a look from the A VIA TOR, LITTLE PRINCEfinally holds his laughter in check.)

LITILE PRINCE. You too come from the sky. Which isyour planet?

AVIATOR. What?LITTLE PRINCE. Though it is true that on that airplane

you couldn't have come very far.AVIATOR. You come from another planet?


16 THE LITTI.E PRINCE - the musical Act I

LITfLE PRINCE. Listen to that sunset. Do you hear themusic?

AVIATOR. What music?LITTLE PRINCE. It's wonderful that the sunset lasts such

a long time here. Where I come from, the sunsets aremuch shorter, but there are so many more of them.

AVIATOR. I've got to get out of here.

([Music Cue #8: 44 Sunsets] A VIATOR goes back to

plane.)

LITTLE PRINCE. One day I watched the sun set forty-fourtimes.

AVIATOR. I'm losing my mind.

LITTLE PRINCE.ONE DAY, ONE NIGHTI SAW FORTY-FOUR SUNSETSSO MA.l\TY SUNSETS ALL IN A ROWFROM DUSK TO DAWNWATCHING FORTY-FOUR SUNSETSMAKING THE SADDEST MOST BEAUTIFUL SHOW

ONE DAY, ONE NIGHTI ASKED EACH OF THOSE SUNSETSYELLOW AND ORANGE, LOVELY AND GRANDFROM DUSK TO DAWNASKING FORTY-FOUR SUNSETS\VBAT IS THIS FEELING I DON'T UNDERSTAND?

AVIATOR (condescendingly). You know it's dangerous totry to understand your feelings.


TABLE OF ILLUSTR-\TIONS

OVERHEAD PROJECTOR SETUP ABOA CONSTRICTOR BBOA CONSTRICTOR WITH ELEPHANT CPLANE DRAM EOLD SHEEP FBOX GROSE 1 HROSE 2 IKING JCONCEITED MAN KLPUVUPLIGfffER LLITILE PRINCE WITH SNAKE MMUZZLE NDESERT FLOWER 0MOUNTAINS PROAD QFOX RTWO DUNES AND STAR SLITTLE PRINCE IN CAPE. . . . . . . . . . . . . . . . . . . . . . .. T


IMPORTANT: READ CAREFlJLLY

NOTES ON THE SKETCH ARTIST

The role of the off-stage sketch artist is an important onebut it need not be difficult. The drawings displayed in thistable are very simple and many of them appear in the showalready partially or entirely pre-drawn. They are presentedhere with a numerical key which indicates the order inwhich the lines should be drawn. This is to simplify thetask of synchronizing the strokes of the artist with those ofthe AVIATOR on stage. The effect is stunning but does require some rehearsal to be completely successful.

Although any number of methods can be used, the projection technique we suggest is that of an ordinary overhead projector, some acetates, and washable markers sothat the acetates may be reused. It is easy and inexpensive.You should try, however, to install a dimmer to your projector so the drawings can fade up and down. Illustration Ashows the setup of this rear projection method. l\ny fabricthat will take light, such as muslin or parachute fabric orrip-stop nylon, can serve as a screen and backdrop.

As to the projection, the distance from the projector tothe screen is approximately the same as the size of the image that will appear. For instance, if the projector is placedsix feet behind the screen a six-foot (measured diagonally)image will be thrown. Finally, attention should be paid tothe fact that sometimes these cues are also coordinated withmusic as indicated in the score.


ILLUSTRATION A.

NOTE: When drawing on the overhead projector,figures will be reversed, left to right,

when they are projected.

Back Stage

(. -.- -- -"-

~

The following 20 illustrations may be photocopied and enlarged for projection. This text is completely protected bycopyright. These 20 illustrations are the only part of thistext which may be copied in any way, and then only for use asprojections in conjunction with productions ofthe play.


ILLUSTRATION B.

Drawing sequence:

1. Draw Outline.2. Draw eye last.

•


ILLUSTRATION C.

Drawing sequence:

1. Outline Snake.2. Elephant

3. End on Elephant's tail.


ILLUSTRATION D.

This drawing may be used if no set piecesuggesting a plane is used.

The AVIATOR may sit on a stoolin front of drawing and coordinate his movements

with the backstage sketch artistwho can simply move the acetate around

to simulate flight.


ILLUSTRATION E.

Drawing Sequence:1. Head. 2. Body.

3. Tail. 4. Ears 5. Legs6. Eyes without eyeballs.

7. Nose and Mouth.

PAUSE, then draw8. Horns.

9. Eyeballs.


ILLUSTRATION F.

Drawing sequence:

1. Head. 2. Body. 3.Tail.4. Ears. 5. Legs.

6. Eyes, Nose, Mouth7. Eyeballs Last.


ILLUSTRATION G.

Drawing direction:BOX - drawn fast as if angry.

o o o


ILLUSTRATION H.

Drawing sequence: 1. Petals. 2. Stem. 3. Ground

Projector fades out.


ILLUSTRATION I.

Projector comes up-- ROSE is finished.Add: 1. Thorns. 2. A couple of petals.

Tear is drawn on last note of song.


ILLUSiRAilON J.

Drawing comes up fully drawn.Just add some stars on robe.


ILLUSTRATION K

Projector comes up.Man is drawn,just add hat.


ILLUSTRATION L.

Drawing sequence:Have 3 stars drawn before projector comes up.

1. Planet. 2. Sun. 3. Sparkle of light. 4. Man.5. Connect Lamplighter's rod to sparkle

on final note of song.

--/


ILLUSTRATION M.

Drawing sequence:Projector comes up. PRINCE already drawn.

Just add SNAKE at:"you know, you shouldn't talk to snakes..."


ILLUS,RATION N.

Drawing sequence:Muzzle- Drawn very fast!

1. Large end.2. Small end.3. Connector strips.


ILLUSTRATION O.

Drawing sequence: 1. Start with ground onCUE: "After I crossed the desert..."2. Continue upwards drawing flower.


ILLUSTRATION P.

Drawing sequence: 1. St-art wit-h mount-ain on ...CUE: "Aftert-hat, I climbed a high mountain!"2. Continue wit\1 sun.

3. Pointy rocks.


ILLUSTRATION Q.

Drawing sequence: 1. Ground. 2. Mountains. 3. Road.


ILLUSTRATION R.

Projector comes up-- everything is drawn.Just add apple.


iLLUSTRAflON S.

Drawing sequence:1. Long curve.

2. Short curve.3. Star.

CD


ILLUSTRAilON T.

Comes up fully drawn in full color.


lLLUS'TRl\TION U.

Blank template to be colored as shown in illustration T.


1k~p~ - dramatic publishingauthors' note this large-cast version of the little prince utilizes...

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